This chapter determines how the critique of the visual nature of art extends into and comes to redefine cinematic expression. The film analyses of works by Picabia, Man Ray, and Duchamp shows that their engagement with cinema ranged from experiments with the camera and the film image to consideration of the film’s modes of presentation and display that forms the position of the spectator. The analysis of drawing on art in order to redefine film relies on film to explain the necessity of moving beyond art.